Abstract
This essay argues that the digital uncanny borrows and remediates three features of the Freudian Uncanny: an adherence to realist aesthetics; the structural repetition of images, situations and responses; and how surveillance undermines the features used to describe feelings of omnipotence and paranoia. By recycling these features, each artist binds realism, repetition and the uncertainty of power to the uncanny itself, leaving us only with their indeterminacy. Such uncertainties strip the body of its positioning as a locus of sensation, perception, and recollection, which in turn strips thought of its presuppositions, like the assumption that it is solely a human faculty. By uncoupling bodies and thinking from forms of representation – bodily images and images of thought – body and thought are themselves rendered indeterminate, ungrounded and uncanny. My goal is to examine how these interactive installations transform subjectivity and our visceral sense of embodiment into an act of mediation.
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